Guitarist Tsubasa Sugiyama was added to the Electronica unit “Liquid Weeld”, comprising of Emi Aida and Yuki Aida.
Starting activities under another name, flag.frog, this work is the first release.
Their music is Ambient pop, whispers and voice of Oriental melodies intertwines in the fragmentary guitar and the delicate electronic sound.
You should pay attention to luxurious remixers as well, moskitoo, celer, Taylor Deupree and i8u.
01. secrets of the lake
02. foreign sun
03. secrets of the lake – moskitoo remix
04. foreign sun – celer remix
05. secrets of the lake – taylor deupree remix
06. secrets of the lake – i8u remix
murmur records is an independent Japanese electronic music label.
It was established by Yuki Aida, sound artist.
And Emi Aida deals with the artwork of the label.
We release drone, noise, experimental, electro-acoustic, minimalism and ambient sound into the specialty mainly.
The Clyde Parker Project Session # 4 – End Parts Vol.
October 2010 – February 2011
32 Music Artists – 4 Discs (3 Discs + 1 Bonus Disc) – 45 songs – 4 Hours of music.
With :
Antti Tolvi
Barbara De Dominicis
Birds of Passage
Bristol Art
Cicely Irvine
Damian Valles
Darren Mc Clure
Essa.m
Esther Burns
Evolvaudio
Flutterbye
Hans Appelqvist
i8u (France Jobin)
Jean-Philippe Guibert
Keijo
krzysztof orluk
Leonardo Rosaldo
Linda Bjalla (Izumi suzuki)
Marihiko Hara & Polar M
Mirko Uhlig
Moinho( Franck M.)
Moïren
n17 (Hellmut Neidhardt)
Orla Wren
Pascal Marius
Pleq
Pillowdiver
Ran Slavin
shaulaofficial
spheruleus (Audiogourmet)
Teamforest
Wvon
i8u est le projet de France Jobin, plasticienne et musicienne canadienne qui collabore assez régulièrement avec Tomas Phillips que l’on a déjà croisé chez Dragon’s Eye Recordings. 29 Palms est une petite ville de Californie, connue pour sa situation, en plein désert des Mojaves, à proximité du parc national de Joshua Tree. C’est justement ce parc qui a servi d’inspiration à l’artiste qui y capté des sons qu’elle a ensuite sculpter de manière à créer une version sonore des lieux.
L’album est constitué d’une seule piste de 41 minutes, d’une ambient faussement linéaire, minimaliste et d’une finesse incroyable. Alors que le disque commence à tourner sur la platine, on n’entend rien. Il faut bien une dizaine de secondes pour commencer à deviner un souffle, 30 secondes pour se rendre compte que celui-ci va de pair avec un drone linéaire, l’ensemble envahissant l’auditeur d’une douceur cotonneuse. L’album possède un niveau sonore assez bas, certainement pour coller au mieux à la notion d’ambient, à une musique que l’on entend sans vraiment l’écouter, qui se fait oublier, et se rapprocher de l’ambiance de ce désert, vide et silencieux, seulement parcouru d’un brise légère.
On aura donc tendance à mettre le volume un peu plus fort que d’accoutumé afin de capter toutes les subtilités de la musique de i8u, un sifflement suraigu, de micros craquements et frétillements, ou encore l’apparition régulière de nouvelles strates sonores, un drone tantôt plat, tantôt ondulant, impliquant un certain rythme alors que d’autres éléments s’effacent. Faussement linéaire donc, donnant l’impression d’une succession de plans finalement très semblables, à l’image des horizons océaniques du photographe Hiroshi Sugimoto.
Au bout de 29mn, on entend distinctement le tintement d’un triangle dont l’artiste joue avec le résonance, à la manière d’une pulsation régulière et suraiguës. Les nappes oscillantes se font alors plus puissantes, plus denses, enveloppantes, mais on ne parlera pas pour autant de tension. Tout juste une présence affirmée, envahissante. Le désert s’est imposé.
Plages minimalistes et déserts sonores font de cet album un petit bijou pour les amateurs d’une ambient façon microsound. On conseillera tout particulièrement ce travail aux fans de Richard Chartier ou William Basinski, en attendant d’en écouter un peu plus.
Thursday, February 24 and Friday, February 25, 2011, at 6 pm, limited seating!
Two “consuming” evenings of minimal sound art with Yann Novak, Stéphane Claude and i8u in which both artists and audience are mutually drawn into the same heights and depths of the sonic/emotional spectrum.
This sound art will be felt as well as heard.
Tickets on sale at OBORO for $10 (cash only), from Tuesday to Saturday, noon to 5 pm. You can also dial 514 844-3250 to hold tickets for 24 hours.
Oboro, 4001, rue Berri, local 301, Montréal (Québec) Canada H2L 4H2
The Artists :
Stéphane Claude is an electronic_acoustic composer and sound engineer.
His research is based on integrating a conceptual and physiological framework of audio recording and sound installation for different diffusion contexts in the electronic arts. His interests gravitate around the communication of a formal aesthetic, of a transductive experience of the electronic medium, an exploration of digital signal processing, the parameters of acoustic and sound in spaces.
His work has been published by ATAK(JP), LINE (US), ORAL (CA), among others.
He is the co-founder of the art research unit Ælab with artist and professor Gisèle Trudel. The work of Ælab has been shown internationally. Upcoming projects include a workshop and performance in New-Zealand at the SCANZ Eco Sapiens residency and an exhibition at Fonderie Darling in march 2011.
As an audio consultant, he participates in the conception, production and integration of presentation spaces, of specialized analog and digital creation and production studios for artist run centers, institutions and independant sites.
France Jobin is an audio / installation artist, composer and curator. Her audio art, qualified as “sound sculpture”, distinguishes itself in a minimalist approach of complex sound environments at the intersection of analog and digital. She participates in festivals, as well as presents installations and events internationally. Jobin has produced numerous solo albums with renowned labels such as ROOM40 (AU), LINE (US), popmuzik records and ATAK (JP). France Jobin was a Sonic Arts Awards 2014 finalist in the category Sonic Research.
Yann Novak (b. 1979 Madison, WI) is a sound, video and installation artist living and working in Los Angeles. His work utilizes different forms of digital documentation as a point of departure. Through the digital manipulation of these sound and image files, his works serve as a translation from documents of personal experiences into an open ended autobiographical narrative. By choosing subject matter that is also relatable to the audience, Novak’s work creates a hybrid state, balancing between his own personal history and that of the audience.
His recorded works have been published by Dragon’s Eye Recordings (US), The Henry Art Gallery (US), Infrequency Editions (CA), Koyuki (IT), LINE (US), Mandorla (MX), smlEditions (US), White_Line Editions (UK) and others.
Novak’s installations and performances have been presented internationally at prestigious events and venues including American Academy in Rome (Rome, Italy), Blim (Vancouver, BC), Decibel Festival (WA), Ersta Konsthall (Stokholm, Sweden), Fiske Planetarium (CO), Henry Art Gallery (WA), Hit Art Space (Gothenburg, Sweden), Kasini House (VT), Las Cienegas Project (CA), Lawrimore Project (WA), Los Angeles Contemporary Exhibitions (CA), Mutek Festival (Montreal, QB), San Francisco Museum of Modern Art (CA), Seattle Lesbian and Gay Film Festival (WA), Soundfjord (London, UK), Soundwalk (CA), Suyama Space (WA), TBA Festival (OR), Torrance Art Museum (CA), Western Bridge (WA) and others.
As a result of these endeavors, Novak had been invited to numerous Residencies including the Environmental Aesthetics Residency (WA), the Espy Foundation Residency (WA), the Jental Artist Residency (WY) and the Kasini House Studio A Residency (VT).
In 2005, Novak re-launched his father’s Dragon’s Eye Recordings imprint with a new focus on limited edition releases by emerging and mid-carrier sound artists, composers and producers. Since its re-launch, Dragon’s Eye Recordings has published over 25 releases and has received critical acclaim. In 2009, Infrequency Editions, curated by Jamie Drouin, was integrated into Dragon’s Eye’s operations and distribution.
In recent years Novak has collaborated through select installation, performance and recorded work with Gretchen Bennett, the Crispin Spaeth Dance Group, Robert Crouch, Jamie Drouin, Will Long, Marc Manning, Alex Schweder and others.
Artist Statement
My work is an exploration of incident, process, and narrative. Central to my practice is the capture and manipulation of audio recordings and photographs. Through various types of digital media, I collect material from a range of sources, initially selected because of the subject matter’s emotional content. The content of these documents is used as a point of departure and a catalyst to recall the experiences; it is never used or excluded because of aesthetics. These documents then become highly charged fragments of an ongoing autobiographical text. Dramatic events like relocating from one city to another, or simple day-to-day incidents like being trapped inside during a strong rain, can be equally compelling. I am interested in reconfiguring documents of moments such as these into abstract, open-ended narratives. My intent is to create experiences that give the audience a window into my own personal experiences, but leave enough to the imagination that the viewer has room to relate their own experiences.
By subjecting these selected recordings to a series of erasures and treatments, a delicate palette of textures, drones, and subtle melodies emerges. When photographs are incorporated into my work, similar treatments and erasures are used to shape them into videos of slow moving or static color fields intended to tint the listening experience. Each piece is then composed from numerous variations from a single source, meticulously sculpted to highlight some aspect of the original document. Although significant details and artifacts are deliberately eliminated, the narrative and structural elements of the source material are left intact. The final form of my work may be realized as sound installation, sound performance, large-scale projection, video work or recorded work.
Each of my works is an investigation into presentation, composition and perception, not just to be heard, but to be felt. By creating situations the audience can relate to, a hybrid state is created, existing somewhere between my own personal history and that of the audience.
Recorded Work Description
My recorded work functions in a number of ways, all with the final goal of re-presenting my work in a format that is more easily accessible to a larger audience. One way I take advantage of the recorded format is to explore and further expand on themes and ideas present in installation or performance work. In these instances, fragments of, or source material from previous installations or performance works are reworked to further explore the idea expressed in the original.
I also use recorded works as a way to catalogue and document my installation or performance work. When I use recordings for this purpose, each work is treated differently depending on its origin. Generally, the goal is to preserve as much of the original experience as possible or to simplify the piece to not detract from the original experience.
The final way I use the recorded format is to free my process from the dependence on an exhibition or performance space in order to explore concepts or techniques not suitable for those venues. In this final form, recorded works serve as a platform to sketch, experiment or collaborate with other artists and affords me more freedom while getting exposure and feedback from an audience. Publishing recorded work allows me to breathe new life and longevity into pieces that would otherwise not allow it due to their ephemeral nature.
Sound Performance Description
My sound performances utilize the same techniques as my recorded or installation work: transforming a simple environmental recording into a richly layered, and emotionally tense composition. Since each of my works is constructed out of numerous variations on a single recording, my performances are composed from a library, unique to that piece, of altered sounds. Through this process my performances can take on aspects of my recorded or installation works, while maintaining the flexibility to adapt to unique venues, situations, environments and the audience.
My performances are also adaptable through their presentation. Generally I will perform in stereo, but when possible, my performances can be expanded to up to 6-channel surround. My performances utilize darkness as a visual cue to draw the audience into a deeper listening experience. However, in some cases, video will be utilized as a focal point if the piece was originally conceived with a video element. The video paired with my performances is similar to my installation works, slow moving or static color fields projected behind me on stage or in multiple around the audience. Both of these elements can be discussed with the organizer and are expansions on the basic elements of my performance.
Quotes
“Novak does not waste his chance to make a first impression. In fact, with remarkable economy he transforms the three rooms he’s been given to work with into chambers where you can be transported into states of mind that feel both personal and familiar. Using digitally altered field recordings (in which the sounds are heightened but the time is real) and snapshots digitally stitched together and abstracted into gleaming videos, Novak both fills the work up with his subjective experience and empties it out to make room for you. There’s just enough specificity and just enough blankness.
I know, technically, how Novak made this work, but I don’t quite know how it works. The closest I can get to describing his approach is that it’s a combination of generosity and restraint. Each detail being so firmly in place means that the rest is open.” – Jen Graves , The Stranger (From “Yann Novak’s ‘Relocation’: All Kinds of Movings On” May 13, 2009)
“The work is distinguished by its clean design, with its constituent parts meticulously woven into a seamless flow without a superfluous element in sight.” – Textura (CA)
“Essentially, this is a drone workout, but in the hands of one of its most proficient exponents, becomes a glistening, precious sound work, unrivalled but by a handful of contemporaries. Novak has seemingly taken an obvious source sound, and with an exploratory and majestic treatment transmuted it into sonic gold. Masterful.“ –BG Nichols, WHITE_LINE (UK)
“Novak creates a sense of distance by abstracting his source materials beyond recognition – whatever is going in is obscure, and far away. Hence the vague, rotorblading, respiratory effects of the first of these three tracks – the sound of systems ticking over, yet whose undulating motions are curiously involving.” –David Stubbs , The Wire (UK)
(1)
immersound is a concert event/philosophy initiated by France Jobin (i8u) which proposes to create a dedicated listening environment by focusing on the physical comfort of the audience through a specifically designed space. The premise for immersound is to seek out/explore new perceptions and experiences of the listening process by pushing the notion of “immersion” to its possible limits.
Hlysnan is SoundFjord’s monthly deep listening event. Bring your ears to the gallery to explore the world of sound is all its facets, guises and surprises! Experience new works from renowned and experienced artists as well as new blood. (Hear their works contextualized next to the sound art
work and experiments that informed their practice). An intense session of listening with the chance for questions and answers afterwards.
SoundFjord.Hlysnan: i8u
Audio Screening
Date: Sunday 13 February 2011 | 6-8pm Unit 3b – Studio 28 | 28 Lawrence Road | London | N15 4ER | UK
Doors: 5:40pm
Entry: £2 | www.wegottickets.com
During the two-hour screening, the playlist you will hear is the result of four-month’s research though the i8u musical archive. The purpose of the research was simply to weave together a series of tracks to create a fitting atmosphere for immerson1: “two “consuming” evenings of minimal sound art… in which both artists and audience are mutually drawn into the same heights and depths of the sonic/emotional spectrum.” as i8u eloquently states.
The works you will hear are to be felt as well as heard.
The criteria for i8u’s choices are based on the sensitivity of the music, the unique identity of each artist and the immersion quality of each track. The order is designed to set the stage – sounds utilized as an introduction to the event that follow – whilst the conclusion to the evening is faded out elegantly, leaving room for the heart and mind to drift and dream into infinity.
By preparing the piece – stitching together works by various artists – i8u has discovered that although each work selected for her list may be appreciated independently, the entirety of the lengthy piece may be considered a work in its own right!
Along with the conceptual rigor and fine ear i8u has honed over the years, not only does she wish to stimulate the mind, the emotions and the body, she simply hopes you enjoy the work!
SoundFjord | London for contemporary sonic art and its research is a new gallery with research facilities, exhibition and intimate event space.
SoundFjord’s core activities are to act as a hub for practitioners and researchers, to provide a research and collaboration network for practitioners, and to deliver an exhibition and event programm rich in research-based, investigative and experimental sonic art from UK -based and international artists.
Using private initiative and funding, SoundFjord was primarily instigated to address the lack of exhibiting space exclusively for works of Sound Art. Now the gallery not only organizes exhibitions, but also documents all works for its Contemporary Sonic Art Archive (CSAA), assists with the development of
artists within their practice, and ultimately, promotes and disseminates awareness of its innovative and thought provoking exhibitions and events to art lovers, practitioners, researchers, and to the general public at large. SoundFjord actively invites participation between artists and encourages combined
activity through its events and collaborative projects.
SoundFjord mounts up to ten exhibitions annually, with an emphasis on sound and audio arts. In order to encourage the widest possible access to and participation with and in its exhibition programm, SoundFjord provides information in a number of formats to assist those with specific sensory needs and
does not charge an admission fee to visitors nor charge artist fee’s for exhibition calls.
1
immerson, is a concert event and philosophy initiated by France Jobin (i8u) which proposes to create a dedicated listening environment by focusing on the physical comfort of the audience through a specifically designed space. The premise for immerson is to seek out and explore new
perceptions and experiences within the listening process by pushing the notion of “immersion” to its possible limits.
This sunday on Framework resonance.fm : “these are few of my favorite things” by i8u
/*framework* / – phonography / field recording;
contextual and decontextualized sound activity
presented by patrick mcginley
framework broadcasts:
– sunday, Jan 30.2011 -10pm, london, uk on resonance 104.4fm (http://www.resonancefm.com)
– tuesday, Feb.01.2011 – 2pm, london, uk on resonance 104.4fm (http://www.resonancefm.com)
– wednesday, Feb.02.2011 – 1am, thessaloniki, gr on cooradio (http://www.cooradio.com)
– wednesday, Feb.02.2011 – 3am, lisbon, pt on radio zero (http://www.radiozero.pt)
– thursday, Feb.03.2011 – 7pm, lisbon, pt on radio zero (http://www.radiozero.pt)
– friday, Feb.04.2011 – 1am, brussels, be on radio campus 92.1fm (http://www.radiocampusbruxelles.org)
– saturday, Feb.05.2011 – 7am, new york state, us on wgxc 90.7fm (http://www.wgxc.org)
– saturday, Feb.05.2011 – 5pm, south devon, uk on soundartradio 102.5fm (http://www.soundartradio.org.uk)
~ time zone converter: http://www.timeanddate.com/worldclock/converter.html ~
Framework – i8u – my favorite things (Installment #7)
Happy New Year and welcome back to “these are a few of my favorite things”.
As mentioned in earlier installments, my interpretation of field recording based works, is very broad however, the thread I like to follow is to find artists who have mastered their unique identity through the music of sound.
This 7th installment will focus on the label DER, Dragon’s eye recordings, based in LA and run by sound artist Yann Novak.
Focusing on limited edition releases by emerging and mid-carrier sound artists, composers and producers, Dragon’s Eye’s goal is to foster personal and artistic relationships with its artists and to function as a meeting ground for its artists to further develop relationships with one another. The curation of the imprint by Novak is done primarily through real world relationships, with some virtual exceptions. By focusing on human interactions and talent, rather than style or genre, Dragon’s Eye’s catalogue has slowly become a melting pot of sounds, processes and practices.
Dragon’s Eye values interconnectedness and encourages it by offering its artists a chance to showcase their own visual concepts, commission artists they have worked with, or recruit Dragon’s Eye’s partners to help create the visual representations for their releases. Through these practices, Dragon’s Eye offers a more personal presentation of its artists for their audience and creates a catalogue that is diverse yet bonded through human collaboration.
Dragon’s Eye Recordings was originally founded by Paul Novak, (Yann Novak’s father), in 1989 as the audio/visual arm of Only Connect…Publications. Paul was and still is a bread baker and avid record collector. Only Connect…Publications was his first venture to self-publish his bread recipes. Through his new publishing company, Paul designed his book on a Apple Plus computer, commissioned a friend and artist to create the painting for the cover, and recruited a musician to compose an original work to accompany bread making. Due to his love and passion for both music and record collecting, Paul created Dragon’s Eye Recordings to compliment his publishing company. All of these pursuits had a strong impact on his son who would later relaunch the label in 2005 and try to stay true to these communal values endowed in the label.
Yann Novak, The breeze blowing, Infrequency Editions, www.yannnovak.com
over us
Additional info about featured album and tracks
Artist, Track Title, Album
1- Shinkei, Untitled, Static Forms, see #4*
2 – Pierre Gérard , wooden mouldings for the assembly (to Constantin Brancusi), Static Forms
In lieu of a traditional album description, the artists and Dragon’s Eye Recordings offer the following quotations.
“The silence that I manufacture, hears only my ears. like these lengthened forms, often.”
– Pierre Gerard
“Le silence, c’est la meilleure production qu’on puisse faire, parce qu’il se propage : on ne le signe pas et tout le monde en profite.”
– Marcel Duchamp
“On peut voir celui qui regarde, mais on ne peut pas entendre celui qui écoute.”
– Marcel Duchamp
“…But now there are silences and the words make help make the silences. I have nothing to say and I am saying it and that is poetry, as i need it. We need not fear the silences, we may love them.”
– John Cage (from Lecture On Nothing)
“Music already enjoys inaudibility.”
– John Cage (from Satie Lecture)
3-Fourm, Seagram Series (for Mark Rothko), Clean Forms, see #4*
4* – Turra, Alluminium.Zinc, Clean Forms
Minimalism, arising from the tide of abstract expressionism of the early 20th century, was one of the signal developments in the art of the 1960’s. Rather than being a defined “movement” as such, minimalism became the fuel for debate that surrounded a new kind of abstraction for the post-war generations. Arguments have prevailed over the precise meaning of the word, and some of the visual artists associated with its original incarnation in the early 60’s firmly rejected it as not being entirely prescriptive of their work – most notably, and ironically one of the movement’s principle exponents, Donald Judd. Overall, the works of the minimalist artists sought out a simplification of format and technique that implied that the work harboured no meaning beyond its material components and the fact of its construction, thereby studiously avoiding the metaphysical claims of the artists of previous generations. Minimalism in the 1960’s became a new, and highly controversial avant garde, producing some of the finest, and most influential artists of the mid 20th century.
The three artists here openly recognise and acknowledge the profound influence of early minimalism on the relatively contemporary field of sound art. The trio of Turra, Shinkei and Fourm have all gained wider recognition for being fundamentally “minimalist”, or “reductionist” in their approach, often producing epically austere pieces that verge on near-silence, a nuanced interaction of minute and discrete elements that actively denigrate them as musical works. Indeed, in the most recent descriptions of their work, the artists themselves often use metaphorical language more readily associated with the visual arts and sculpture. With this in mind, the three artists decided to make recordings alluding to, and partially descriptive of the minimalist artists that they favour most, or have had the most profound influence on their work and imagination. It was decided that each artist would make a sound piece, naming it after a visual work, or an artist (or both) that was highly significant to each of them, translated into sound. We present here the first wave of recordings by each artist, in the hope that it will simultaneously pay homage to a great moment in contemporary art, and also fuel its influence on the next generation of minimalists.
5-Tomas Phillips and Jason Bivins, Ohne Titel , Blau
A marriage of guitar improvisation and through-composition, its immediate reference point beyond lowercase sound art is the work of painter Barnett Newman. His solid color canvases, broken by vertical lines of various shades, reveal an aesthetic preoccupation with minimalist imagery aligned with a reverence for the philosophy of Spinoza. An equally pleasurable matrimony.
6-Mimoza Moize, Live at unit 3.03, Live at unit 3.03
Live at Unit 3.03 is a sequence of sound sketches that were spectrally deconstructed and reconstructed live, with intentions of engaging the listener with the space. Each sound used was mono allowing any stereo effect of movement perceived to be those created from the influence of the space itself.
The nature of performing at Unit 3.03 is generally one of a more domestic gathering than that of a public event. This shared domestic-come-temporary-social situation creates an interesting interaction with the sounds to be heard coming from within and beyond this personal and intimate space. Interestingly, this situation also directs ours attention inwardly to the sounds that we carry with us and outwardly to the ones that people carry with them.
This recording was taken during our very first live performance held at Unit 3.03, where we shared tea, coffee and cake, met old friends and new ones, and shared old stories and made new memories.
7-.Simon Whetham , 02 Part (Paths, Crossings) , prayers Unheard
In February 2010, Simon Whetham was invited to perform at Audio Art in Krakow by Marek Choloniewsky, for which he proposed visiting the city for three or four days prior to the performance in order to record the sounds of the place, to compose a site specific piece for the event.
Whetham stayed in the Kazimierz area of Krakow, the old Jewish area that during the Second World War became a ghetto through Nazi persecution. Walking the streets, he felt a certain sadness and longing that was almost tangible. The buildings, the very fabric of the city there, had to bear witness to the atrocities of that time. The walls still stand, unable to impart their testament to the horrors committed – the roads that bore tanks and trucks that took hordes of innocents to nearby Auschwitz unable to show us the despair of families torn apart…
The Jewish people of Krakow believed their God would save them, and yet they still suffered terribly at the hands of the Nazis. Their prayers, along with the sounds of pain and suffering, have long since died away, unheard. But perhaps the stone and metal of the city retains some echo, some imprint from that time…
9- Yann Novak, The breeze blowing over us, Infrequency Editions
Recorded on one of the hottest days Seattle experienced in 2008, as well as the first weekend Novak spent with his partner, The Breeze Blowing Over Us is based upon a simple recording of a fan beside their bed.
This is Novak’s first solo release on Infrequency and an extremely fine example of his technique for transforming a simple environmental recording into a richly layered, and emotionally tense composition.a box fan is the only sound source)
France Jobin, in her i8u guise, has created a work that is listened to in an immersive space, or at least with an excellent pair of headphones able to render spatial distinctions with precision and clarity. It is inspired from spatial environments, from a visit to Joshua Tree national park in California and makes use of field recordings and processes these sounds utalising analog and computer based processing methods. Her work within the ‘sound art’ domain incorporates visual elements and navigates the intersection of digital and analog environments to create installation art. So to the degree this is a review of a release, it is more a prompt to attend spaces created by artists such as Jobin as the translation to the personal space is fraught with an absence. Spaces which can render such environmental portraits in a greater depth than the ad hoc environment available to the home listener.
29 Palms is 41 minute piece of predominately lower spectrum tone, incorporating soft pulses and bass texture with micro events and highly minimal changes. There are sections of distinct movements whose passage has been so intricately woven into the overall piece as to be indicatively marked or demonstrative in its motion. When eventually distinct change occurs, after a long low pulsed ultra minimal section which strains the listener to hear the micro texture, it arrives from the slow build of a high pitched sound out of the miniature. The movement of this sound into long drone that provokes the idea of a reserved majesty and wavers on a sharp note impressing itself on the consciousness. It is a cumulative effect as well as being the event of the environment, perhaps the twilight depicted on the cover that can be more greatly conveyed through an immersive listening environment for which it is constructed.
France Jobin aka i8u es una artista sonoria que reside en Montreal, Canada. Ella ha estado activa desde 1999 editando varios disco en sellos como Bake/Staalplaat, Room40, Oral, Atak, Vague Terrain y otros sellos independiente alrededor del mundo.
Ella ha trabajado junto a Goem, Martin Tétreault, David Kristian y con el también artista de Dragons Eye Tomas Phillips.
“29 Palms” fue la inspiración de la experiencia que tuvo la artista en el Joshua Tree National Park en la parte sur de de California. Para este álbum i8u trabaja con registros de campo, dispositivos análogos y procesamiento digital.
Comienza con una oscura atmósfera que desarrolla una sección de drones hecha de gruesas capas de una sostenida línea de sinte, sonidos oscilantes, ruidos crujientes y su ocaso tiene una melodía inspiradora.
France Jobin aka i8u is a sound artist based in Montreal, Canada. She has been active since 1999 releasing several albums on labels like Bake/Staalplaat, Room40, Oral, Atak, Vague Terrain and other independent labels worldwide. She has work along with Goem, Martin Tétreault, David Kristian and also Dragons Eye’s artist Tomas Phillips.
“29 Palms” consist in a one piece only of 41 minutes long and it is inspired by her experience at Joshua Tree National Park in Southern California. For this album i8u works with field recordings, analog devices and digital processing.
Starts with a quite dark atmosphere unfolding a drone section out of thick layers of a sustained synth line, oscillating sounds and crackle noises, and ends with an inspiring melody.
Specials:
♦ Digital 1 Year Anniversary ♦ SOLO LIVE ACT by T.Raumschmiere ♦ Video-Mapping Installation by Silant & Bou ♦ Special Location: Metropol …♦
Wenn Digital am 8. Jänner seinen 1.Geburstag im Wiener Metropol feiert, darf man sich auf einige Überraschungen freuen.
Viel ist im letzten Jahr passiert und das soll auch gebührend gefeiert werden. Neben einer legendären Free Party in der Ankerbrotfabrik kann man zufrieden auf bahnbrechende Kuppelprojektionen, 3D Visuals, fulminante Live-Sets von Kollektiv Turmstrasse oder Apparat, visuelle Darbietungen der besten internationalen und nationalen Visualisten, Ausstellungen, Lesungen und vieles mehr zurückblicken.
Zu diesem besonderen Anlass zieht Digital auch in eine ganz besondere Location. Selten hat man die Gelegenheit im Wiener Metropol – einem Jahrhundertwendetheater – zu feiern, aber am 08. Jänner ist es soweit.
Als besonders extravaganter Gratulant, der sich weder in Schubladen stecken lässt noch in Kategorien denkt, erwartet euch T.Raumschmiere mit einem seiner legendären Solo Live Acts. Mit wilden Performances, die so manchen Rockstar in den Schatten stellen, begeistert der Mann mit Punk-Rock Vergangenheit, der nie ein Techno Artist sein wollte und gerne Aphex Twin als Inspiration nennt, Kritiker, Musikbegeisterte und Clubgänger gleichermaßen. Nach zahlreichen, erfolgreichen genreübergreifenden Releases auf Labels wie Kompakt, Sender oder Shitkatapult und Kollaborationen mit Miss Kittin oder Ellen Allien gratuliert er nun endlich am Digital.
Ein weiterer außergewöhnlicher Gratulant ist niemand geringerer als Silant aka Ilan Katin von der zur Zeit führenden Visualsoftware Modul8 und Allroundkünstler in Personalunion, der eine extra vorbereitete innovative Video-Mapping Installation gemeinsam mit seinem Kollegen Bou aufwartet. Und obendrein tauchen Blackdata, T.Raumschmiere`s VJ-Freund aus Hamburg, Pixkompressor vom Lichtkunstkollektiv Lichttapete, Wemakevisuals, Fitzke Family und der lustige Astronaut die gesamte Location in vollkommen neue Sphären und sorgen für visuelles Vergnügen der Extraklasse.
Nationaler Support in musikalischer Hinsicht kommt vom Stadtpark Mastermind Markus Lindner, dessen Name allein schon für höchste Qualität steht, Cosmic Resident Burt Reynold, dem umtriebigen Scheibosan und Simon Lebon von Tjumy Records.
Wir gratulieren herzlich!
♫ LINE UP (komplett) ♫
●●● DIGITAL FLOOR ●●●
minimal / techno / electro / house
▲T.RAUMSCHMIERE▲ Solo Live Act!
(Random Rave Sessions – LIVE / Shitkatapult / Berlin, Germany)
MARKUS LINDNER (Stadtpark Nacht)
SCHEIBOSAN (scheibosan.at)
BURT REYNOLD (Cosmic Resident)
SIMON LEBON (Market / Tjumy Records)
● VISUELLE GESTALTUNG VON ● :
SILANT (Modul8 Team, Berlin)
BOU (Le Zoo, Geneva)
BLACKDATA (Hamburg)
PIXKOMPRESSOR (Lichttapete, Wien)
WEMAKEVISUALS (Wien)
DER LUSTIGE ASTRONAUT (Optical Matrix)
FITZKE FAMILY (Wien)
323 Projects is pleased to present from one side to the other, I’ve dreamed that too., curated by VOLUME (volumeprojects.org).
• Exhibition runs fom December 20, 2010 – January 17, 2011.
• Opening December 20 from 6-8PM.
…Come to the opening by calling (323) 843-4652.
Inspired by Eve Sedgwick’s essay Queer and Now, this exhibition engages Sedgwick’s observation that Christmas is the one time in the year where nearly every institution in the US lines up in unison to reinforce the same definition of family, religion, and tradition; definitions that define queer subjects as “other.”
Modeled loosely after a suicide prevention line, from one side to the other, I’ve dreamed that too. offers callers a moment of solace, or tools for active resistance against the monolithic tide of conservative signification that defines this holiday season, in all forms.
Aritsts included in from one side to the other, I’ve dreamed that too. are Marcus Civin, Dino Dinco, Zackary Drucker, Seth Horvitz, i8u, Nina Katchadourian, Killsonic Women’s Chorus, M. Lamar, Lissom, Marc Manning, Lucas Michael, Taisha Paggett, David Schafer, Susan Silton, Jacob Sperber, Ultra-red, and Dorian Wood.
323 Projects invites you to experience from one side to the other, I’ve dreamed that too. by calling (323) 843-4652 or (323) TIE-IN-LA. The show is open all day and all night, every day of the week.
ABOUT VOLUME
VOLUME functions as a catalyst for interdisciplinary new media work through exhibitions, performances, events, lectures, and publications. Concentrating on the nexus of music and visual arts practices ranging from the avant-garde to popular culture, VOLUME offers unique opportunities for artists to create and present hybrid works. Volume was founded by Ed Patuto and Robert Crouch and directed by Robert Crouch.
ABOUT 323 PROJECTS
323 Projects is an innovative exhibition space that exists as a phone number that visitors can call to access contemporary art. To visit 323 Projects simply call (323) 843-4652 or (323) TIE-IN-LA. You can also visit the 323 Projects website at 323projects.com.
323 Projects exists to provide a dispersed, peripatetic, and constantly accessible venue for artists of all kinds who seek to explore issues important to their respective practices. The artists involved with 323 Projects provide, create, or perform works that can be appreciated in bits and pieces, and at more than one time, in both public and private spaces, by an unseen, yet omnipresent, local and international audience.
Tucker Neel is the Founder and Director of 323 Projects.
